Drypoint, Early 20th Century, Etching, Gallery Openings, Gallery Updates, Landscapes, Lithograph, Natural History, Prints

FEATHERED

Old Squaws #2. By Frank W. Benson. Etching, 1921. Ed 150. LINK.

Old Squaws #2. By Frank W. Benson. Etching, 1921. Ed 150. LINK.

The Old Print Gallery is pleased to announce its new winter show, FEATHERED, which will open on February 19th and run through April 9th, 2016. FEATHERED will celebrate the beauty, power, and reverence of winged animals, captured in prints. Artists have been forever fascinated by birds and their ability to gracefully navigate the open skies on stretched wings, suspended between earth, sky, and water, hopping from perch to perch. FEATHERED showcases the work of three celebrated natural history and ornithological printmakers from the 20th century- Frank W. Benson, H. Emerson Tuttle, and Stow Wengenroth. Each artist offers a unique, distinctive approach to depicting birds is in their prints, which makes for a varied and compelling grouping on the wall.

The prints of Frank W. Benson (1862-1951), nicknamed the father of sporting art, suggest the perspective of a naturalist and bird hunter. His close and watchful examination of a bird’s flight path and tendencies in the water offer a firsthand record of nature, gleaned not from dead models in a studio, but from a close familiarity of birds in the wild. Captured in Benson’s spare compositions and delicate line work, their vital essence is expressed in the way the birds move through their environment- sunlight and shadows hitting their winged bodies in flight, ripples in water as ducks float through still marshes, traces of a whole flock of birds dotting the horizon.

Aquiline Eagle (Eagle Head). H. Emerson Tuttle. Drypoint, 1937. Ed. 45. LINK.

Aquiline Eagle (Eagle Head). H. Emerson Tuttle. Drypoint, 1937. Ed. 45. LINK.

H. Emerson Tuttle (1890-1946), devoted much of his career to drawing and etching prints of birds, both from life, and using stuffed specimens in his studio. Arresting and commanding, his prints take on the appearance of formal seated portraits. Intricate detail is given to the patterns of feathers, the cock of the head, and oftentimes, the direct gaze of the bird. Tuttle’s prints are unswerving and full of personality- his birds take center stage and are only sometimes supported by a background. Tuttle captures their beauty and dynamism with his drypoint needle, imbuing his birds with almost human-like dispositions.

In contrast, Stow Wengenroth (1906-1978) is known for his landscapes, so his birds appear in their expected and rightful place, perched in mottled tree branches, exploring sand dunes, and in flight, weaving among shadows of trees. Birds play a principal part of his New England landscapes, adding movement and breathing life into his lithographic sceneries.

Breakwater. Stow Wengenroth. Lithograph, 1986. Ed. 50. LINK.

Breakwater. Stow Wengenroth. Lithograph, 1986. Ed. 50. LINK.

Standard

Our Mixed Winter Show is now on view at The Old Print Gallery. Stop by our Georgetown shop to see these stunning original 20th century and contemporary prints.Mixed Winter Show

Contemporary, Early 20th Century, Gallery Openings, Prints

On View Now…

Image

Monotypes Old Print Gallery Invite

Contemporary, Early 20th Century, Gallery Event, Gallery Opening Receptions, Gallery Openings, Monotype, Prints

Join us for the “Monotypes” Opening Reception

Image
Contemporary, Gallery Openings, Gallery Updates, Monoprint, Monotype, Prints

“Monotypes” to Open in July

Under a Tree. Matt Phillips. Monotype, 2006. Image size 12 3/4 x 8 3/4 inches. LINK.

Under a Tree. Matt Phillips. Monotype, 2006. Image size 12 3/4 x 8 3/4 inches. LINK.

We are excited to announce our new summer show, Monotypes, which will open on July 17th with a nighttime reception at the gallery from 5-7pm. A monotype is the most painterly method of printmaking, created by manually adding ink onto a plate, which is then printed through a traditional press. While other printmaking mediums are composed by way of hard, precise lines and detailed crosshatching, the looseness and gestural freedom allowed in a monotype can be an invigorating breath of fresh air for artists. The prints chosen for the exhibit are glowing examples of this unbridled, and sometimes playful, independence from the technical, benefiting from the simple swipe of a brush stroke, the pooling and blending of inks, and the unique translucency and saturation of color. The show will remain on view through September 12, 2015. Selected Artists: Linda Adato, Leonard Baskin, Philip Bennet, Susan Goldman, Takamune Ishiguro, Alessandro Mastro-Valerio, Matt Phillips, Clare Romano, Peri Schwartz, Bruce Waldman, Steven Walker, and Janet Yake. We will share more with our OPG Blog readers and followers as the show takes form, so make sure to check back for updates!

Standard
Color etching, Contemporary, Early 20th Century, Etching, Gallery Event, Gallery Opening Receptions, Gallery Openings, Landscapes, Prints

“Resonant Terrain” Opens This Week!

RT_Small PROMO

Resonant Terrain opens on Friday, April 17th, with a nighttime reception at the gallery from 5-7pm. The prints selected for the show unveil the emotional power and pull of the natural world, a beauty and mystery that entraps and enchants artists, and serves as a deep pool of inspiration for their work. This exhibit of landscapes in print features work by both 20th century and contemporary printmakers and will remain on view until July 11th.

Selected Artists: Philip Bennet, Grace Bentley-Scheck, Matt Brown, Charles E. Burchfield, George E. Burr, Letterio Calapai, Sylvie Covey, Joseph Essig, Richard Florsheim, Emil Ganso, Maya Hardin, George Overbury “Pop” Hart, Peter Hurd, Robert Kipniss, Gene Kloss, Evan Lindquist, Donald Shaw MacLaughlan, Thomas W. Nason, Margaret J. Patterson, Nancy Previs, Gerald Scheck, Steven E. Walker, Levon West, and Harry Wickey.

To see the prints included in the show, click here. 

To read more about the show, click here.

Image Credit: Iceland Rocks I. By Joseph Essig. Etching printed in color and finished by hand, 2014. Image size 12 9/16 x 10 9/16 inches. Signed and titled in pencil. Edition 65. Inscribed “1/65.”

Standard